by Daniel Hathaway
One of the latest instrumental ensembles to announce a new season of concerts, BlueWater Chamber Orchestra began 2021-2022 with an imaginative program on November 20 at the Breen Center at St. Ignatius High School in Ohio City. The time was unusual — Saturday afternoon at 3:00 pm.
Music director and conductor Daniel Meyer built his playlist around Cleveland themes and scenes. “Exploration CLE” made use of engaging selections from the classical canon and beyond that celebrated “what makes Cleveland so special.” Happily, he and his musicians avoided constructing a visual slide show, choosing to let the music speak for itself. [Read more…]
Even the best pianists only share a keyboard in performance with someone they trust. Fortunately for Cleveland audiences, the bond between two players doesn’t get much deeper than the duo of Antonio Pompa-Baldi and Emanuela Friscioni.
“And now for the two notes that changed the course of music history.” Conductor Carl Topilow was half-joking in his introduction to the “Shark Theme” from Jaws, just one of many recognizable movie moments from the Cleveland Pops Orchestra’s “Salute to John Williams” on November 12.
Russian pianist Arsentiy Kharitonov played the second concert in the Rocky River Chamber Music Society Series on Monday evening, November 15, not in the Society’s home venue — West Shore Unitarian Universalist Church — but at Lakewood Congregational Church, due to COVID-19 concerns. I watched the recital, a hybrid event with in-person attendance permitted, via the live stream.
The Cavani Quartet’s well-attended concert on Sunday, November 21 at St. Wendelin Church marked the sixth of eight performances in the ensemble’s roaming “Beethoven and Beyond” series, as well as the beginning of the 30th season of the Arts Renaissance Tremont series.
Parallel revolutions in France and Haiti have inspired the second episode of this season’s online concert series from Les Délices. “Winds of Change,” which went live on November 18 and is available both on subscription and as a single performance, includes late 18th-century music by Joseph Bologne (Chevalier de Saint-Georges), Karl Bochsa, and Luigi Boccherini, and the premiere of a commissioned piece, Haitian-born composer Sydney Guillaume’s A Journey to Freedom.
If you want to identify the Naughton sisters, look at their shoes. As the identical twin pianists took the stage for their recent performance at Tuesday Musical, each wore one red and one black heel, placed on opposite feet. It was a fitting choice — Christina and Michelle Naughton are distinct individuals, yet when playing together, they become one half of the same whole.
It’s fun and illuminating to trace outside influences on composers’ changing styles as they make their way through life, standing on the shoulders of their predecessors to see a clearer view of the future.
A bit of jazz, and even some rock crept onto saxophonist Gabriel Piqué’s program at Christ Church Episcopal in Hudson on October 31. Although he stuck to mostly classical repertoire in his Music From The Western Reserve recital, those occasional flashes of other genres didn’t seem out of place.
Like the exiles in The Book of Isaiah who returned rejoicing to Zion, the Cleveland Orchestra Chorus jubilantly revisited Severance Music Center, the scene of many past triumphs, on Thursday evening, October 28. Chorus director Lisa Wong was on the podium, Johannes Brahms’ Ein Deutsches Requiem was in singers’ hands and on their lips, a pair of Steinways manned by Carolyn Warner and Daniel Overly sat dovetailed at center-stage, and a near-capacity audience witnessed the homecoming.